Here’s a short and sweet article on our documentary subject, John Michael. From selling Street Roots to doing press coverage for the Dalai Lama, he’s a busy man today.
Interested in a little more on John? Check out this teaser for The Last American Adventure or connect with us on Facebook / Twitter.
Have you heard of IndieFlix? Well it’s time you learn. Basically, it’s like Netflix but even better because it’s geared towards Independent filmmakers. Not only is it a great place to watch awesome festival quality films, but it’s a great place to submit your film to be distributed as well! IndieFlix contacted me about doing a little giveaway to spread the word about their new service.
We’ll be giving out ten 2-month FREE subscriptions to anyone who likes and reblogs this post! (make sure you have some form of contact on your tumblr /ask box works fine so we can notify you if you win). Winners will be chosen at random in a week, GO GO GO!
In the meantime check out this free doc, findingkind.
Fill your life with love and love the life you’ve built.
Honestly, we’re still living vicariously through her filmography.
This is all kinds of wonderful.
It’s hungry hungry Thursday here at the Winifred
Lost in Translation
John prefers sleeping outside, but relies on the PDXSafetyNet for basic services like showers
Have 2 minutes to spare? Enjoy black and white photography? Documentaries? Homelessness? Great!
Check out this updated teaser for The Last American Adventure, a film about life and the streets.
If you like what you see, we’d love for your follow on Tumblr. We’re still in production, so we’ll keep you posted on behind-the-scenes updates, photos, and clips from the streets of Portland.
help a sister out, your support is much appreciated!
As we all know, nothing brings on the man-tears like achingly perfect dialogue. But how? I’ve written bales of lousy dialogue myself, so I have a few pointers:
1. Don’t try to write dialogue the way people actually talk.
Listen to yourself talk for 10 seconds to hear what I mean. We use an astonishing amount of filler:
ME: Um, yeah, so, I’m, uh, like, [expletive], y’know…
Moreover, we spend most of our time not saying anything:
THEM: How are you?
US: I’m good. How are you?
AUDIENCE: Unnngh. (falls unconscious)
It may be true to life, but it’s incredibly boring, and all it tells us is that neither person is paying any attention. A guideline: If the audience can guess almost exactly what the next line will be, write something better.
ZORA: I love you, Max.
MAX: I love you, too.
AUDIENCE: We hate this play! (they turn on each other and fight savagely)
Try this question: How could I write this in a way that tells the audience something about the character(s) speaking? You and your audience may learn something:
ZORA: I love you, um… it’s Max, isn’t it?
MAX: It’s anything you want it to be if you’ve got 50 dollars in your pocket.
n. a moment that felt innocuous at the time but ended up marking a diversion into a strange new era of your life—set in motion not by a series of jolting epiphanies but in the tiny imperceptible differences between one ordinary day and the next, until entire years of your memory can be compressed into a handful of indelible images—which prevents you from rewinding the past, but allows you to move forward without endless buffering.